El ritmo como expresión de lo erótico en la poesía de Gonzalo Rojas

Abstract

Poetic writing, just because of its condition of writing, does not contain in its physical substance the concrete sounds, intonations, or rithms which characterize any actually spoken sequence, but it contains only the acoustic images that correspond to distinctive sound units. Nevertheless, it firmly conserves its links to orality (like a musical staff); therefore, the persistence of sonority in poetry preserves it as a phenomenon that, in spite its scriptural support, maintains its sonorous virtuality, so that a poetry reader “listens in his mind, behind the written words, their oral music” (Octavio Paz). This is what fully happens with Gonzalo Rojas’ lyrical discourse. The poet not only prefers to read aloud his prologues and presentations, but also in his poems often resorts to suggestions of orality,
which include all types of procedures that project it on the written page. This is especially evident in love rithms.